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“Drummer Todd Bishop is an underground treasure. He doesn't boast the highest of profiles, but he has put out two consecutive great CDs for the Origin Records label: 2009's 69 Annee Erotique and now, this nod to alto saxophonist/free jazz pioneer Ornette Coleman.”
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| Photo by Jazzques |
“This Sunday, November 4, [Todd Bishop] was Café Belga Brussels.
The world, the noise, the usual deal of the place. So Todd Bishop slams the first shots on the snare. Must be heard. His game is tight, bright and dry. The pulse is strong. And it works! The quartet starts like clockwork.Very quickly, the soloists take their brands and Méreau Martin embarks on a solo feverish Check Up. Then it's Guinea Don Cherry with his throbbing trance. The music hums, rolls and fills the space.
This is a fantastic playground for Jean-Paul Estiévenart. His way up phrases, to invent by mixing always that little bit of humor shifted, this slight ray of light that is in the density of the moment, make him a trumpet definitely always interesting to listen . Guess we always looking for novelty, the truth and the desire to never repeat.Todd Bishop was quickly understood and exchanges with accomplices enrich natural confusing.Then the music turns better and Olivier Stalon benefits and spaces to enter the dance. His improvisations, extremely effective - both rich and simple - revive a Martin Méreau increasingly released vibraphone.
The themes are connected (Feet Music, Comme Il Faut) to the powerful Enfant, played here with an incredible passion. This is probably the best moment of the concert. Dialogues ignite quickly, ideas jostle. This dizzy and it seems that nobody wants to stop. There is a chorus of bidding more attractive to each other. The quartet has found and pleasure on their faces. Each dare go further, driven by one or the other. Bishop gives some indication at a glance, module tensions, holds and releases the clamp. [...]
Ornette be happy, he really has not been betrayed.
A +”
So, take obscure compositions from the songbook of a challenging artist and perform renditions… the math for that equation should result in something resembling a didactic lecture of music theory and not the refreshingly listenable Little Played Little Bird. Todd Bishop tackles the music of Ornette Coleman, and without watering down the source material, has created a recording that was both tuneful and a fun listen. It’s an impressive accomplishment, and a solid album when judged on its own merits. I find this album as infectious at the end of the year as I did when it originally came out.
“Little Bird” was a nickname given to Ornette Coleman, an American-born saxophonist, violinist, trumpeter and composer who was one of the major innovators of the free jazz movement of the 1960s.
Why the “little played” in the album title? Because, as often is the case with artists ahead of their time, Coleman was a polarizing talent; the kindest descriptor would be “unorthodox.” Some listeners became immediate fans; others were outspokenly critical. That latter group included Miles Davis, who initially declared that Coleman was “all screwed up inside”; Roy Eldridge, who said, “I think he’s jivin’, baby”; and one reviewer, who described Coleman’s group style as “nobody solos, everybody solos.”
Other musicians felt he played out of tune; and he had difficulty finding like-minded musicians to jam with. But as time passed, Coleman’s fan base increased and he found work in jazz clubs and concerts, and as a composer for film soundtracks. He’s still performing today, and has become more respected, playing with many name artists and securing contracts with prime studios such as Atlantic, Blue Note and Origin. In 1969, he was inducted into the Downbeat Jazz Hall of Fame.
Drummer Todd Bishop is a fan, and this album includes nine Coleman compositions. So, as stated in the liner notes, “Little played = an album of Ornette Coleman tunes that you don’t hear, because nobody plays them.”
The lack of an alto and trumpet allows the quintet to get a bit of distance from Ornette Coleman’s recordings, as does the utilization of Iago’s Fender Rhodes. The music is explored on its own terms. Ranging from free bop romps to lyrical ballad statements, with the highpoints including spirited renditions of “Friends And Neighbors” and “Check Up,” these fresh and adventurous interpretations cast new light on Ornette Coleman’s songs. Little Played Little Bird is easily recommended and available from www.origin-records.com.
Taking ownership of a series of obscure Ornette Coleman songs, drummer Todd Bishop shines them through a facet of his own view of the music, while leaving the beating heart of the originals intact, not a scratch upon them.
Most strikingly, the album is an easy listen. Not in the sense that it’s straight-forward, but instead, Bishop doesn’t needlessly complicate matters. Due to his inventiveness, Coleman’s music already comes with its dangers and pitfalls, wrapped with a bow on top. Bishop doesn’t try to out-free Coleman, instead, just takes the music as it is, and then plays it his way. That’s a big reason why this album works. It’s an impressive music statement to sound both personal and referential, to create music that feels In The Now and simultaneously nostalgic.
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Amazingly, Bishop has negated the requirement of actually needing to like Coleman’s music to enjoy Little Played Little Bird, without extinguishing the heart of the source music, and thus, making this an album accessible to Coleman enthusiasts, too.
The music selected by Bishop covers 1959—"Lonely Woman" from The Shape of Jazz to Come (Atlantic)—to 1987—"Feet Music" from In All Languages (Caravan of Dreams). The band Bishop assembled to perform this rarified music is notable for the lack of an alto saxophone. Instead, Bishop heads up a quintet made up of Hristo Vitchev's pianist Weber Iago, bass reeds player Richard Cole, tenor and soprano saxophonist Tim Willcox, and bassist Bill Athens. In contrast to much of Coleman's work, Bishop's inclusion of Iago on piano lends a greater harmonic depth, and therefore, a foundation to these ruminative compositions.
Bishop's performances plumb the freedom inspired by Coleman while placing the composer's song in a postmodern light. Most notably, the plaintive alto wail that is the hallmark of "Lonely Woman" is conspicuously absent, the underlying theme presented instead by Willcox on tenor and Cole cleverly on bass clarinet. Iago plays nervous, percussive dances in the background. Iago's use of the Wurlitzer on "Friends and Neighbors" and "Country Town Blues" is very effective. For a collection based on music where the piano is anathema, Iago discharges himself admirably on both keyboards. The leader provides that vibe essential to the Coleman sound—that controlled chaos that so permeated post bop in the wake of John Coltrane's classic quartet and Miles Davis's second great quintet—freewheeling and solid.
Todd Bishop Group, Little Played Little Bird: The Music of Ornette Coleman: Concept album that performs renditions of lesser-known Ornette Coleman tunes (except “Lonely Woman,” which Bishop admits to including because he loves playing it, “concept be damned.”). Bishop on drums and leading a quintet that includes a family of saxes, bass clarinet, piano & Wurlitzer, and bass. A strong recording that brings plenty of swing, fire, and blues to the Coleman compositions. Not a requirement to actually enjoy Ornette Coleman’s music to like this album; Bishop brings his own voice and vision to this excellent album. Highly Recommended.
Cuesta recommend an album of this whimsical style of jazz, but I would say that fans of the genre and fans of Ornette Coleman, found in "Little Bird Little Played" a very good source of inspiration. Entertainment is assured.
